Shoot Film Co.

Now shipping worldwide!

Big news for everybody across the globe who has been asking: I'm now shipping everywhere in the world! So those of you that ask if i ship internationally--the answer is YES! I also have some big announcements coming up in the next week ( designs...cough), and more gear reviews and SO many interviews with film shooters lined up. Check out the catalog and grab your wares!

In The Frame: Nate Matos

We're proud to feature Nate Matos, a photographer from Portland, Oregon. I first came to know Nate through his YouTube channel, which has become prominent among like-minded film shooters looking to feed their appetites for information about film photography.

More recently, Nate has just published his latest printed book, Serif & Silver, a quarterly film photography journal of his curated work. The first edition, Polaroids, is a collection of his instant film work between from 2010 to 2015. Today, we get to talk to Nate and learn about his process of getting his work from the idea stage to a final, printed volume.

Tell us about yourself, and what you do. I'm from the Portland area originally, although I was born in Fullerton, CA. This has become a small point of contention in my life as when people ask where I'm from I can't simply say born and raised. There is always an asterisk on the statement. Photography for me took a few tries to get going, and a lot of that was finding exactly what spoke to me and what I was able to say back with my images. I don't think I'm alone when I say I was first introduced to photography via a high school arts credit. The wet darkroom we used was outstanding, and a great outlet of creativity. But unfortunately after the class was over I didn't pay much more attention. It wasn't until my 18th birthday that my mom bought me a Canon Digital Rebel XT for me as a birthday gift, hoping to rekindle the passion she saw while I was taking the class. That brought on a new wave, lots of digital work, specifically automotive. I even had my photos show up in a few car magazines and got a bit of recognition. But when I picked up a Canon AE-1 to play around with something new started for me. Since then (around 2009 when I purchased the AE-1, and I've shot film exclusively since late 2011) the pieces have come together and provided me with direction and context for my work. I use film to support my images and the stories I tell, it's a choice just as one would pick oil over acrylic for painting, and a choice that I am grateful we are able to use.



Photo © Nate Matos. All rights reserved.

What motivated you to create printed volumes of your work? Printed work has been in the works for a long time. I've always been a fan of the printed medium, we subscribe to and purchase individual magazines at home, am always picking up photo books, and I love to support other photographers through their small print works like zines. My last self-produced publication (I've had my work in other collections) was in 2011. Since then I've gathered a large backlog of images and prints, and I knew that something needed to be done otherwise the work would never get released. So I sat down with my many boxes of Polaroids and started pulling out photos I liked. From there it was a tedious process of review, sort, review, sort, into perpetuity as I narrowed the selection to about 50 images. Once I had reached that point I could finally arrange them into a format with more of a narrative attached.

Which cameras/films did you choose for this particular project? As this collection was based off content within a photo format, the materials and cameras used are many. But as a quick rundown; Fuji FP100B is very prominent, and most of the time I was using an NPC 195; a large format rangefinder that's been designed to use polaroid pack film. Sprinkled in this is some Fuji FP3000B, FP100C, Polaroid 690 of various expirations, as well as a bit of Polaroid Chocolate and Blue. Other cameras include a Colorpack II and Automatic Land Camera 100.



From Serif & Silver, all Photos © Nate Matos. All rights reserved.

Since this is planned to be a quarterly volume, are their any ideas for what the next volume will be? I've committed myself to one year of a quarterly format. Based on how this goes I may switch to a bi-annual, but who knows. I do know where the next issue will take me, and I'm actually already in the midst of working on it. But can't say too much just yet. Issue II of Serif & Silver will start shipping September 1st 2015. Beyond that a roadmap does exist for issues 3 through 6, and I'm excited to present work through various formats and themes; though I don't know where it will ultimately take me.

What other projects can we look forward to? Right now Serif & Silver is taking up most of my time. But for me 2015 is a year of beginnings. The series featured on my website currently have been up for about 2 years, and are coming to a close. They will eventually be replaced with new images and bodies of work with more direction and greater stories to be told. Within that though there is still a lot up in the air, and I'm not entirely sure when it will come to the ground. I'm excited for what the future brings, and I feel Serif & Silver is a good start.

A big thank you to Nate for taking the time to talk with us about his project.

Make sure to get your copy of Serif & Silver here, and connect with Nate on social media below:

Instagram: @natematos

Twitter: @NMatosPDX

Gear Review: Minolta XE-5 35mm Film SLR

The Minolta XE-5 is a 35mm film SLR that uses Minolta's manual focus SR mount, also commonly known as the MC mount, or simply the "Minolta mount." It is the same mount used by the famous SRT-type cameras and also the XE/XE-1/XG-7 series. The system was generally referred to as the MC system, with a whole range of compatible bodies, lenses, and accessories. First, a little about the original XE-1, which was the original in the line and the descendent of the XE-5. The XE was the first electronically controlled Minolta SLR that was targeted for advanced amateurs. It features metered manual and aperture priority shooting modes. Perhaps the most interesting part of the the XE heritage is that it is the first SLR that Minolta designed and produced in association with Leitz, the maker of Leica cameras. The XE-5 carries on most of these features, but since it is a lower end model than the original XE-1, there are some features that don't carry over. The viewfinder does not display the current aperture and shutter speed settings; there is merely a needle that shows the suggested shutter speed to which you should set the camera to depending on the your ISO and aperture setting. The focusing is achieved through a diagonal split prism.

Minolta XE-5 viewfinder

Minolta XE-5 viewfinder

Unlike the XE-1, there is no viewfinder curtain, double exposure lever, and no safe load "flag" that shows proper film advance, although you can see the rewind lever spinning when you advance the film, telling you that the film is in fact advancing and being taken up on the take-up spool, so that's a fairly minor concern. The pentaprism housing (the SLR "bump" on top of the camera) is all black, unlike the black/chrome prism housing of the XE-1. The front panel features a self timer lever, an X-sync flash socket, a locking depth of field preview button, and the lens release button. The "Minolta" logo is engraved and painted white onto the front of the black plastic pentaprism housing. The XE-5 badge is engraved and painted black onto the upper chrome portion to the left of the Minolta logo. The grip is a stiff, slightly rubbery material. The top panel has a hot shoe, rewind crank, underneath which is the ISO dial with a locking pin (labeled "ASA"), which ranges from 12 to 3200, in 1/3 stop increments. On the same dial is the +/- exposure compensation dial, also with a locking pin, ranging from -2 to +2 in single stop increments. On the right hand side of the top panel is the shutter speed dial, including X, Bulb, and 4 seconds all the way to 1/1000th of a second in one stop increments. There is also the shutter release button with a threading for a remote release cord and the familiar film advance lever.

DSCF6800 Minolta XE-5, top plate

The rear of the camera has an on/off lever. The camera will not fire in the off position, as the shutter is electronically controlled and cannot fire without battery power. So that means dead batteries = dead camera. There is also a frame counter which goes up to 36 and stops if you have any more frames on the roll. You can still keep taking pictures, but the frame counter won't go any higher than 36. The left side profile of the camera has a tiny little lever that is easy to miss, which is a battery check lever. When you activate it, there is a red LED that lights up to let you know the battery is functioning.


One particularly convenient feature about this film camera is that it uses the very common LR44 batteries (two of them), which can be found in any grocery or drug store for very inexpensively, or online for even cheaper. You can generally buy 10 of them for just a few dollars. Many older generation cameras use battery types that are either expensive or worse, no longer available. The camera is not exactly light. While not as heavy and considered more compact than the professional level Canons and Nikons of the day, it's still larger and heavier than the similarly priced and competing Olympus OM cameras. However, it is still very comfortable in the hand. The rewind lever is nice and smooth, with a somewhat long throw distance, but still advances the frame in a single stroke. The mirror slap is nicely dampened as the entire body is nice and solid. The shutter button depresses very smoothly in one motion; it does not have a half-press function to activate metering. The camera is always metering as long as the power switch is in the "on" position.

Personal experience

The camera is solid feeling, and I felt very confident in its operation in the few rolls I shot with it. The lens I had for it was a bit of an odd focal length: 58mm, but it had a very nice fast aperture of f/1.4. The lens is not particularly sharp at wide open apertures but by f/2.8 it was sharp and contrasty. Because of it's somewhat long focal length, it can be susceptible to some user misfocusing at wide open apertures if you use the focus/recompose method, which can change the plane of focus, so you have to be careful with that if you're shooting fast. The camera feels really good to me, something I'd be happy to use as an everyday shooter if it was my only choice. If I had owned more lenses in the system, I would most definitely keep it, as the example I had was in very nice cosmetic shape. I certainly wish I had some wider lenses to test with it. The meter was accurate and I shot half of the roll using the built in meter, and the other half using a handheld Sekonic meter, both of which yielded fine results. Like many manual 35mm film SLRs, the appeal with this camera is the fact that you have so few choices in how you expose a picture. Shutter, aperture, and film speed--that's it. I found that this lack of choice kept me in tune with the subjects I was shooting and the shooting experience itself, and not so worried and engaged (or distracted) by the gear in my hands. I feel that the single biggest drawback this camera suffers from is that, due to it's electronically controlled shutter, it cannot be fired without batteries, like other film SLRs that can fired mechanically and only need batteries for metering (the Yashica FX-3, for example). It's construction feels hefty and durable, despite the fact that the top pentaprism housing is plastic. I would highly recommend this camera to anyone who is looking for a manual SLR, with an aperture priority mode. It certainly fetches a far lower price than Canon and Nikon models of the same level in used markets, because Minolta was simply a less popular manufacturer in the 70s and 80s, but no less of a viable option then as it is today when it comes to 35mm manual focus SLRs. Sample images below. Shot on Kodak 5279 500T color cinema film, scanned on a Pakon F135 film scanner.

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

Sample Image, Minolta XE-5, 58mm f/1.4, Kodak 5279 500T cinema color negative, scanned on Pakon F135 film scanner

In The Frame: Sue Denaim (4614)

Uncropped Cheap Film by Sue Denaim
It seems appropriate that with any analog photographic endeavor, the final product should result in a printed collection of works. Today, we're proud to feature photographer Sue Denaim, otherwise known as "4614," and his new book "Uncropped Cheap Film." Sue's work appealed to me because of his use of "non-professional" films. The cheap films you'd find on vacation in drug stores, gas stations, and grocery stores. As a kid growing up in the 80's, these were the only films I knew. I was never even aware of, let alone shot with, the professional-level films that you'd find in specialty camera shops. To me, the cheap films are what is a huge part of what the "film look" is because it's what I grew up with.
Below, Sue gives us some insight into his work.
What type of subjects do you concentrate on the most?
I concentrate most on composition.  The subject can be anything as long as its interesting.
What makes you gravitate to film?
There are a few things that make me gravitate to film.  First is the sound of the film as its advances to the next frame.  I can't explain it but that sound just makes me giddy...  Next, is the lack of instant gratification in the whole process.  You can't just check each shot and reshoot until you get it right.  You need to actually know what you are doing...or go broke and crazy.  It helps you develop patience and you learn to take your time...carefully pick out your subject and maybe decide the shot is NOT worth it.  Next, is the scanning process.  I love digitizing my film and fixing the contrast and getting rid of dust and scratches... or leaving them in if they work with the photo.  And, I love that i can hold the physical negatives in my hands.  I love cutting them and organizing them.  Labeling them the same as the folder of the scanned images on my computer.  Last, I love that i don't have to keep up with the latest new technology.  I shot digitally for years and always felt like I had to keep up with the newest high end cameras.  It gets to the point where its not even about the photography but about the equipment.  My saying, "A good photographer can shoot a great photos with anything, including a cheap throw away camera."  I learned photography using film... and i love coming back to it.
From page 22 of Sue Denaim's book, From page 22 of Sue Denaim's book, "Uncropped Cheap Film." Photo © Sue Denaim (4614)
What types of cameras/films do you shoot with primarily?
I had a Canon F1 that i LOVED!  But it broke and the film will not advance...and I have not had it fixed.  I also have a broken (Canon) AE1...but lets talk about cameras that work!  Right now I'm shooting with a Canon Rebel 2000 for my 35mm needs and a Holga120 for my 120mm needs.  I like to shoot cheap film.  I like the grain and the way I can buy more for my buck.  I used to shoot a lot of Arista Premium 400 until it died earlier this year.  So now I shoot mainly Arista EDU Ultra ISO 100 200 or 400 for my black and white needs.  For Color I shoot Agfa Vista Plus.  I'm not a film snob.  I like grainy, grimy cheapness.  I have a box of 50 rolls of expired Agfa color film that I've been shooting, too.  A few of those made it into the book but I'm saving those for a new future project.  For the Holga I use Arista EDU ISO 200 or 400.  I've been shooting tons with the Holga/cheap film combo...but again that is for a future project.
What motivated you to create your book?
The motivation to create the book came from the need to see my work in a physical form and not just one or two shots at a time.  Also, I had a vision of what I wanted my work to look like and be presented that I just couldn't achieve online.  Photography has become this non-physical entity.  A photo can be shot, edited, sold and displayed all without ever living physically.  Monetarily I know this makes sense (and cents) but I wanted something physical that I could present to people and say "I made this."  I have so much photography that no one ever sees.  Things get lost online in the crowd of media that is bombarding you daily.  People that follow me and have known me a long time open the book and find things that they have never seen before.  While looking at the book they actually take the time to admire the work that went into every shot.
From page 62 of Sue Denaim's book, From page 62 of Sue Denaim's book, "Uncropped Cheap Film." Photo © Sue Denaim (4614)
What types of projects can we look forward to in the future?
I am already half way done with the next book... a book of my Holga work.  It's a lot darker and gloomier than this one due to the nature of that camera.  I also plan to put out a book of my expired film work.  Also, I was thinking of making an issue dedicated to only my digital work from past years.  There is a reason this book is labeled "Vol. 1"... there are more books to come.  I'm also working on some canvas prints of my work that I'll create frames for.  Maybe display in a gallery around LA sometime.  I've had my work in a few galleries in the past and was thinking of jumping back into that scene.
A big thanks to Sue for sharing his work. Please make sure to support Sue, film photography, and the printed medium by checking out his book, of which there are only 25 signed and numbered copies for only $30.
To buy the book, you can Paypal Sue directly at
You can also find him on Facebook and Instagram.